Word: moralisms
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Dates: during 1960-1969
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GRAZIE ZIA is a flashy first film by young (25) Italian Film Maker Salyatore Samperi. His theme is moral and spiritual decadence, and his style is already accomplished, but the film is too repetitious and vague to be entirely satisfying...
...Choice (1960), he seemed to be highly skeptical of the chance for successful negotiations with the Russians and of U.S. capacity to bargain with a power that viewed the world so differently. "To us," he wrote, "a treaty has a legal and not only a utilitarian significance, a moral and not only a practical force. In the Soviet view, a concession is merely a phase in a continuing struggle." He also has doubts about the notion that as Russia evolves into a more liberal society, it will necessarily be more tractable. "In some respects," he said recently, "it was easier...
Welcoming delegates to the Palestine National Council, which met in Cairo last week, Nasser promised the fedayeen "unlimited moral and material support, without reservations or conditions." The 105-member council, which considers itself a Parliament in exile for the Palestinians, elected as its chairman Yasser Arafat (TIME Cover, Dec. 13), spokesman for El Fatah, the largest fedayeen organization. The post makes him the Palestinians' official representative to Arab governments and the collection agent for their contributions to the guerrilla movement. Even so, Arafat's election did nothing to bridge the rift between El Fatah and the rival fedayeen...
...important economic arguments. Altogether 18 states raise tobacco in significant amounts; millions of Americans are somehow involved in tobacco growing, processing or marketing; cigarettes last year contributed $8.4 billion to the gross national product and $4.1 billion to federal and local taxes. Beyond that are the intricate legal and moral questions of whether the Government has the right to limit several lines of businesses, even for the sake of public health...
...cannot see the other side of fate nor the sins of our own." Maeterlinck portrays these largely lifeless souls consumed by irresistible fate with his personal idiom of bare symbolism and rhythm, taking us to the edge of enervation as we begin to feel our own strength and moral consciousness become fluid, then dissolute, and finally desiccated...